In his "Producer's Note" in the beautiful book that is part of the box, Lemieux, who attended the first 10 shows on the tour, states, "To my ears this was the last tour that was consistently great, where every show is excellent, not a dud in the bunch." And Grateful Dead historian Dennis McNally's comprehensive and informative insider's essay in the box is titled "The Last Great Dead Tour." These guys know what they're talking about.

Basically, the band had been on an upward trajectory since Garcia's return to the road in the spring of '87, following his near-death the previous summer. Of course, 1987 was a trip in itself, what with the unexpected mega-success of In the Dark and their first hit single, "Touch of Grey." But the momentum just kept building with each subsequent tour, as Garcia got back up to full speed (and then some!) and the group as a whole was as unified as they had ever been since Brent joined the band in the spring of '79. New original tunes were popping up and the old favorites were imbued with a freshness and spirit that was so uplifting and inspiring. The band was having fun again, and it was downright infectious.

The group's fall 1989 shows-as documented two years ago on the Formerly the Warlocks box (two shows from Hampton, VA, 10/8-9/89) and on the 2001 release Nightfall of Diamonds (a single night in NJ, 10/16/89)- kicked the energy level up another couple of notches, as the band reintroduced such loved classics as "Help on the Way" > "Slipknot!," "Attics of My Life," "Death Don't Have No Mercy" and "Dark Star."

And when the band hit the road in mid-March 1990, they had a bunch of other cool tunes to lay on their unsuspecting crowds, including the return of "Loose Lucy" (last played in 1974; it's not on this box), Brent's "Easy to Love You" (missing since 1980), a rollicking cover of the Rolling Stones' "The Last Time," The Band's "The Weight" (with all four singers taking a verse each) and a lyrically retooled "Black-Throated Wind" (absent since 1974), which elicited huge cheers every time it was played.

Over these six shows, most of the cornerstones of the Dead's repertoire from the era appear-splendid versions of "Scarlet Begonias" > "Fire on the Mountain," "China Cat Sunflower" > "I Know You Rider," "Playing in the Band," "Uncle John's Band," "Eyes of the World," "Estimated Prophet," "Truckin'," "Sugar Magnolia," "The Other One," "Terrapin," "Stella Blue," "Feel Like a Stranger," "Bird Song," "Let It Grow," "China Doll," "Box of Rain," "Morning Dew"; you name it. From the fall '89 breakouts come "Help-Slip-Frank," "Attics of My Life" and "Death Don't Have No Mercy." Among the still newish tunes are "Picasso Moon," "Blow Away," "Foolish Heart," "Just a Little Light," "Victim or the Crime," "Standing on the Moon," "We Can Run" and a couple that would get their final plays from the Grateful Dead on this tour-"Built to Last" and "Believe It or Not." There are stirring renditions of "Dear Mr. Fantasy" and "Black Muddy River," rockin' takes on "Gimme Some Lovin'" and "Iko Iko" and the only version of the full "Hey Jude" the band attempted in the modern era. And the "Rhythm Devils" and "Space" jams at the heart of each second set are as noisy-beautiful-scary-funny-intense-mysterious-wild as you'd expect/hope for.

Of course, we understand that some of you may have other favorite shows from this tour you wish were included on this box. Really, you can't go wrong with any of them. But at 18 discs, this is still the second largest Grateful Dead box (after Europe '72: The Complete Recordings) that's been released, and the non-inclusion of any other shows from the tour definitely does not preclude their future release! But this seemed like a more manageable way to go, while still giving a sense of the tour's amazing depth and breadth.

Besides the discs themselves, Grateful Dead: Spring 1990 has much to offer, including: a gorgeous 60-page hardcover book containing copious color photos by Jim Anderson and Michael Laurentus, unique artwork by Brooklyn-based fine artist Wes Lang, fascinating business letters and communications related to the tour, a detailed historical essay by Dennis McNally, a Producer's Note by David Lemieux and individual show descriptions by Blair Jackson; a reproduction of the Dead's 1990 tour program (printed and sold later in '90, for the fall and Europe '90 tours); tickets and backstage passes of all six shows; a band publicity photo from 1990 by Ken Friedman; Dennis McNally's tour laminate; and reproductions of the colored 8x10 sheets GDTS sent out with hotel, food and other information for each city on the tour.

With recordings made by longtime Grateful Dead recordist and producer John Cutler, mastered by Jeffrey Norman in HDCD, you just know it's gonna sound great-and it does!

So, that's the skinny this time 'round. This box is limited to just 9,000 numbered copies - please note, this is the only time these shows will ever be officially available on CD. There will not be an All Music Edition and single shows will not be available physically. Due to ship out August 31st, we anticipate that this extraordinary set will sell-out, so order your copy today!

If you're looking for more of a bite-sized taste of the '90s, Spring 1990: So Glad You Made It, a 2-CD set featuring a handful of favorites, will be in stores on September 18th.

Disc 1
1. Feel Like A Stranger [8:12]
2. West L. A. Fadeaway [7:41]
3. Easy To Love You [6:14]
4. Beat It On Down The Line [3:34]
5. It Must Have Been The Roses [6:29]
6. The Last Time [5:40]
7. Picasso Moon [7:07]
8. Don't Ease Me In [3:30]

my comments have nothing to do with the release,i want to hear everything eventually also,60's,70's,80's,and 90's.release it all,just get rid of the bells and whistles IMO.it has to do with dave's statement which i feel is more on the business side of selling the box set and not a true feeling of his.of course we will never really know.if it had been a late 80's release would he have compared that tour to the ones he mentioned in the video.they were on fire during this time,brent and jerry had a good blend.i love the videos-view from the vault,the way jerry and brent feed off of oneanother.just like you said in your post,bobby said pretty much the same thing about when they were in their prime.im just questioning his statement.i hope he does really feel that way to be honest,who wants someone making statements like that based on trying to sell new releases.

As far as Dave's Picks vol.3, I'm still waiting for my copy here up by the Great Lakes as well. Hopefully tomorrow!

@ One Man, until the day somebody invents a way to absorb this music through osmosis, I'm afraid that I am stuck listening to it with the two holes on the either side of my head. If the sound quality doesn't meet the criteria of your high standards, don't buy it and quit sniveling.

To me, all of these releases sound great. Truckin' up to Buffalo, Crimson White and Indigo, the Warlocks Box, Nightfall of Diamonds, Terrapin Limited, Dozin' at the Knick and the Nassau Birdsong & Copps Scarlet >Fire blurbs on the So Many Roads set all sound top notch.

I wonder if the demons Brent was dealing with, if in relation to the stigma of being "the new guy" is what had finally caught up to him? Whatever energy that inspired his playing over those last several was nothing short of phenominal.He went out at the top of his game.

I don't know if this has been mentioned yet, but it's interesting that, like the 7,200 steamer trunks for the E72 box, they chose to grace the Spring '90 Box with 9,000 units.

My copy of Dave's Picks Volume 3 hasn't arrived yet either and I'm in California. I'm in Los Angeles though, so I'm not worried. The package has to go all the way to So Cal, stop at some major sorting house bureaucracy, probably go from there to LA, more bureaucracy, then finally go out with the mailman making his rounds to my apartment building. Judging by Europe 72 things tend to arrive about a day or two after the first people get it on the east coast.

@ Poetry: Go easy on Dave, Bobby said pretty much the same thing in his little promo interview video. There are probably more people whose favorite era is the 70's than anything else, but there are plenty of Deadheads who swear by the Brent era. And Brent is on fire here, just listen to the latest sample from 3/19/90. It may not be your favorite tour of all time, but they had already released a lot from 72, 73 and 77, and it makes sense for the first mega-box after E72 to be non-70's especially considering that Dave's Picks Volumes 1-3 are all from the 70s albeit very different eras of the 70's.

everyone has their opinion but for david lemieux to say the spring 90's are has good has the europe 72',fall 73' and spring 77' is just....wow.i would have to say that is a man trying to make some sales.now he did say-the best tours in grateful dead history,maybe he was there on all those tours and had a great time but as far as music goes-your own opinion or someone else's-no freakin way do they compare to the 90's.spring or any other time.wow david,really?

I literally got the exact same email from customer service today. Signed by Andre as well. I have been ordering for 10 years, I have ever once had an incident before. But like you said it usually takes 4-5 days. Every time, release after release. Good luck on yours, I'm hoping it is just taking a whole to get to the East Coast. I know the USPS is going under but come on now. Next time I will go with UPS for my releases

what up,i'm here in pennsylvania and i too am still waiting.in fact i emailed customer service yesterday because i never had to wait this long.yes i know a few more days is not that much but have been ordering for 15years i know how long it usually takes.here is what customer service said,right from my email-Dear,Sam

Your order was shipped on 7/30/12 please allow 12-14 business days to receive your order due it being shipped by usps and their is no tracking number,because the order is a lite package.Thank You
Sincerely, Andre Customer Service
Dead..Net
1- 800-225-3323 now that you have not received yours in georgia is i hope nothing more than coincidence.peace-though i don't believe in coincidences

I know this is off topic, but is anyone still waiting on Dave's Picks volume 3? I'm here in GA and it has not yet arrived. I am trying to gauge if anyone else out this way is still waiting on their copy as well. Thanks and have a good evening!

Spacebrother, I don't know which organ you were using to listen to those mixes, but I find the ears work best. (The two holes on either side of the head where sound goes in.) The Warlocks box sounds like a mix by someone in the first semester of audio engineering school. The worst offense is that the vocals are often buried, especially Jerry's. There are many other imbalances, unpleasant dynamics, and the whole thing sounds harsh and very cold compared to any other multi-track mix released thus far.

Compare this to the amazing job Jeff Norman did on the Movie Soundtrack. Even Phil and Owsley could not make a listenable mix from those tapes (hear Steal Your Face) yet JN worked wonders because he had the time (budget). That release sold (and still sells) for less than $12 per disc, about the same we are now paying for vastly inferior audio products.

Compare also to Two From the Vault, where Dan Healy worked tirelessly to correct time smear by running each track through different delays, to re-focus the sound. This kind of effort will NEVER HAPPEN AGAIN because we accept the rush jobs we are now fed with regularity.

I ordered this as soon as the announcement hit. I have been mmore than happy with sound qauulity on most of the past releases other than some of the eartl road trips keep them coming andd thank you David et al

It may sound cliched, but I'm very grateful for this release, these will be nice upgrades as to what is in circulation. Can't believe this hasn't sold out yet, really thought it would sell out after two days.....

121 different people commented. About 100 positively. 23 people commented multiple times. Of those who commented multiple times, 3 people tied for the most comments with 7 each. The overall rating for response to this release is "lukewarm". Given the comments so far for DaPs, it is hard to understand this tepid attitude. So many people wanted something from the 80s or early 90s. I think this is in large part due to the price tag.

It looks to be a long way to a sellout. I would think something like 90 days at least.

Reading the description it seems pretty obvious that at some point down the road they are planning to release this digitally. "This is the only time these shows will ever be officially available on CD" so the strong implication is that it will be released digitally at some point down the road. I don't know anything more than any of you but I believe there are probably a few reasons behind why they chose not to release the digital version at the same time. For one thing releasing them side by side decreases demand for the physical version and if they don't sell out quickly then they have the cost of storage, which is the same reasoning behind all of these "limited edition releases". Also when they do release it digitally, without the book or all the knick knacks, it will probably be at a cheaper price, so if that was concurrent it would further drive down demand. Then there is the issue of piracy. With a physical only release it takes more effort to make pirated copies online. It will still probably happen but I would guess they have figured that doing it this way they will cut down on the amount of piracy. Lastly, because of the Dead's earlier origins than Phish the overall demographic is older and the older the demographic the more you find physical medium purists. Plus, I think that when they did the digital download series and and the Road Trips digital stuff they didn't have as many sales as they were hoping for.

Anyway that's what I speculate. Regardless of that stuff, I am very excited about this release and appreciate all the transparency and clarity about what we're getting and what's being released now and in the future.

Well, I got mine. But its tough for some of us to come up with $213 on little more than a few days notice. OK, overall, I get the limited edition CD thing. What I don't understand is why the Dead put so much stock in physical media. Maybe it made sense for E72. That was a beautiful box. But if you're going to offer a late-model, incomplete tour this way, why not offer a digital-only FLAC download for a lower price, so everyone can partake (on their own schedule)? For years, we've been able to buy every single Phish release (from the White Tape to Party Time) digitally via livephish.com. Phish clearly understands the way this thing is headed and they make it easy for their fans to have physical releases, or instant gratification. So why are the Dead stuck with a 20th century distribution model?

...I prefer the stripped down box sets like the Fillmore West and Winterland Complete. (which we need more of, namely 2-74 and 3-77) Especially if it'll bring the price down a bit. Extra pictures and a deluxe booklet is all I need along with the music - - definitely not 'replica' items. That said, I think I'll like the book.

After doing some comparisons between Feel Like a Stranger from these two releases, the immediate differences in the mixes I notice is that Jerry's guitar is hotter, Phils bass is punchier and has better definition and clarity and the drummers overheads and rides are hotter. The overall mix on the Warlocks Box sounds bigger. The drummers high hats are more noticeably prominant on Without a Net. Personally, I think they both sound great. Just different mixes.

It's the same case with Althea in respect to Without a Net versus Terrapin Limited.

I trust that this box will sound awesome. I just hope we don't have to wait too long to get the rest of the tour in another Spring '90 box.

In all fairness, the mixing of the Europe '72 box ~ that would be the entire Europe '72 tour ~ came down to logistics. Jeffrey himself said from Day 1 in the interview posted on this site that there was no way he was going to be able to give every song/show/an entire tour the same care he did for, say, Rockin' At the Rhein or any single-show release. It would've taken five years, and is more, I think, than even the audiophiles among us could reasonably expect.

1. True, the GD archival program is unparalleled. There's not even a close second. That is because this band uniquely speaks to a deep niche of listeners AND they were smart enough to record so much of their live work. Don't forget that no other band would attract this kind of dedication. We are the other half of this equation and we understandably expect to be treated like critical listeners.

2. Wrong. Rhino is NOT going to try to produce the "best" product. They have proven that conclusively. They are going to try to maximize profit, and that is to the detriment of any listener who cares about audio quality. The E72 box was rush-mixed and it sounds that way. Same with the Warlocks box. These are not the best audio that could have been produced, given the available sources. This new Spring 1990 box probably could be mixed better from the multi-tracks but Rhino won't allow a professional audio engineer the budget to do it. It is hard to believe that mixing this properly would put much of a dent in the $1.8M take.

3. Not buying is always an option, especially as the bar is lowered on audio quality. There is so much out there for free that sounds about as good as these latest releases that folks must be asking themselves why they are paying large sums of money for minor (if any) upgrade to audio quality.

Tapers have always been interested in the best possible audio. We will settle for what we can get because we love the music. It is frustrating that top-notch sound quality is traded for higher profits.

Right on. Those are very sensible words, Whenever your having a bad day all you need to remember is that you reach into your stash of Rhino releases and come up with something that eases the head-ache of it all. How great is that?

Spring 1990!! Awesome! Look, here's the deal: i will purchase and gladly enjoy any releases from 1965 - 1995. That's all there is to it. We get multiple releases and a box set every year, that's insane! My worst fear is that i wake up one day and they announce the final release they ever plan to release. Lucky for us, I don't see that happening anytime soon.

We have enough to worry about in day to day life, don;t worry about the music too! Just enjoy it. My kids can't stand when a package shows up at our front door or in the mailbox with a return label from California, they know that brand new grateful dead music will be gracing their ears on the way to school, on the way to soccer practice, on the way to basketball practice, on the way to hike on the AT, etc. They say "Don't you ever get tired of hearing the same thing over and over?!?!" And here's the catch: I never get tired of it. With multiple releases a year we are afforded the opportunity of constantly adding to our collection of shows. It is a true luxury to have!

Dave: keep the picks coming, keep the videos coming, keep the box sets coming!! For every complaint you read i promise you there are ten more of us who greatly appreciate the time, effort, and dedication yall have displayed over the years. It will always be appreciated!!

Folks, enjoy the music, it's hear to add to our lives as opposed to take away from our lives

It does have to make one laugh!. Here we have our most favorite band, putting out a plethora of quality shows & music, and still the complaints rain down. NO OTHER GROUP even attempts to do what the Dead do. I have a friend who is a Stones fan and he is always complaining about the lack of live shows that are "officially" available. The Dead continue to surprise & amaze me with the quality shows they offer from all time areas. It is just awesome! You can take what you want and leave the rest. There will be more coming all the time. I am very happy to de a Dead Head and will always be thankful for what is available now and what will be available in the future. I do not have enought hours in the day to listen to what I already have but I am always up for more! Go DL! Keep them comong.

I can't help but think while reading some of the incessent posts full of 'wants' and 'demands' that this is revealing the underbelly of addiction...
Alot of these posters need to calm it down and breath.
If we were all as particular with real aspects of our internal lives as we are with our 'wants' we'd be making major breakthroughs.

The steaming audio sounds FANTASTIC, so it's really disappointing to see all of this whining about which tapes they used or didn't use.

Consider these points:
1. How many bands even have the ability, desire, dedication (no pun intended) to CONTINUE to offer live shows from 20+ years ago? VERY FEW!. Yes, there's profit involved. Welcome to the real world. Stop for a few minutes and really look at the catalog of live shows that are available - it's unparalleled anywhere.

2. They're going to try to produce the best product they can because they're professionals AND because it's good business.

3. Grow up! If you don't like the way they sound, then don't buy them. I am CERTAIN that it won't hurt anyone's feelings

"We are using the live John Cutler mixes for this box set, owing to the fact that we feel that sound is as good or better than anything we could have replicated in the studio by remixing the multi-tracks. The Grateful Dead's longtime engineers, John Cutler and Jeffrey Norman, spent considerable time checking out these live mix tapes, and they decided that these recordings are as good or better than can be reproduced with a remix."

This was the best decision on which recordings to release."

^

But, respectfully, the above comments are nonsense,

OF COURSE the sound quality would be far superior if the time (and expense) had been taken to remix the multi-tracks.properly.. There's a reason they were recorded on 24 tracks in the first place.

Given the time that has passed and the price being asked for these discs, there's no excuse to release anything but recordings of the highest quality,

No offense, Mr. Cutler, but it was no secret that you were not especially "taper friendly" back in the day, and it saddens me to see that condition continue long after Jerry's passing.

I think of you each time I have to EQ the HISS out of my Cal Expo '93 Road Trips discs, (all the while looking at my stack of bootlegs from the run of shows that sound FAR better.)

And frankly, I won't get burned again.

How sad to think that 24-track pristine recordings of all of 1990 (and some of '89) exist, but we won't be allowed to hear them, except on rare occasion when the "powers that be" see fit.

I don't dispute that this box set will sound amazing but it seems like a short cut to not use the multitracks for this release. Without a Net still sounds better to me than anything else that has been released from this era.

""Gans: The "Dick's Picks" stuff is stereo master recordings that were made at shows on reels, or DATs, or whatever. The stuff in *this* series is from multi-track material, and it's from a much more limited collection of possibilities, obviously --

Lesh: That's right.

Gans: -- but there was some stuff from 1971 that became the "Skull and Roses" record; there was a bunch of recording in 1980 of acoustic and electric material; '89 and '90 was the stuff for. . .

Cutler: "Without a Net."

Gans: "Without a Net," and from which you took this. Are you, every time you go for one of these, are you examining the entire body of stuff, and choosing something, or were you --

Cutler: Well, again, it depends on who the "we" is, because now Phil is hopefully coming in with a couple of choices we have to decide between, to get going and mix; Dick listens constantly to everything, he starts filtering stuff through Jeff and myself; or I, who was lucky enough to have recorded a lot of this multi-track stuff, at least since the '80s, kinda know what's there anyway, and so we go through it. We don't necessarily -- we couldn't have listened to everything from "Without a Net," that was like 50 shows I recorded for that, so there's lots of stuff there to come out. I think now, we're always faced with the fact of, if a "Dick's Picks" comes out, and there was five songs on there that are also gonna be on the Vault release, that are *also* on the video -- I mean, it gets very difficult. We try to orchestrate it so we're not putting out the same stuff at the same time, from various eras. We'd rather put out --""

OK - here's MY totally unrealistic choice for the next box set ... ALL of 5/15/70.
On this day, there were Early and Late shows at the Fillmore East, each of which featured and Acoustic GD set, followed by a New Riders set (this is Pre-Buddy Cage - Jerry's on Steel!) and then an Electric GD set.
Truth be known, I've already put this together for myself, from the LMA, and it's a GREAT listen - around 8 hours worth! I say it's unrealistic, because Rhino does not have a deal in place with the New Riders, but maybe they could get it together with the "co-operation" of Kufala, the outfit that DOES have the Riders archival franchise.
So ... No prayer, right, Dave?

Seems like a reasonable response that the 2-track reference tapes (DAT) sounded great and thus were used. I do think this could have been made clearer from the start. I'd rather this result than the rush-mix we got with the E72 box and the Warlocks box. (And anyway, no one seems to agree with me that those two releases could have sounded MUCH better.) So production costs were low this time, and Rhino will increase its profit margin, and that is the American Way. A cool $1.8 million gross. No beef with that. The same thing happened with the Winterland boxes and no one complained ($11.11/CD with no mixing costs). We'll never again see a value like the Fillmore West Complete Recordings box, obviously ($7.50/CD and newly mixed extremely well).

"We are using the live John Cutler mixes for this box set, owing to the fact that we feel that sound is as good or better than anything we could have replicated in the studio by remixing the multi-tracks. The Grateful Dead's longtime engineers, John Cutler and Jeffrey Norman, spent considerable time checking out these live mix tapes, and they decided that these recordings are as good or better than can be reproduced with a remix."

DL's answer is as complete as one could wish for and also revealing. I can well believe that the live mix was to DAT. I don't know when they finished recording shows on 24 tr. for "Without a net" and making simultaneous 2 tr. live mixes, but "View from the vault I soundtrack" (July 8 1990) was produced using 2 tr. digital tapes. However "View from the vault III soundtrack" (June 16 1990) was produced using 2 tr. analog tapes, so that clarifies nothing about the storage medium - but the medium is insignificant compared to the sound quality.

"To clarify, these are not stereo PA mixes; these are the live mixes John was producing in the recording truck."

IMO, that is as close to actually "being there" as is possible in 2012.

Truth be told, the DaP system works better for me ($32 from time to time vs. several hundred $$$ all at once). HOWEVER, box sets like this are extremely welcome. The day will come when I can realistically consider purchasing them (as I could BC...before children.) Whatever...keep them coming!!!

I remember a day when live releases like this was the stuff of fantasy. Blair, I remember, directly in Golden Road, you wrote a blurb along the lines of "can you imagine Buffalo 77 on CD?" Releases like this at the time would have been a happy foos-ro-DAH!

I emailed Dave inquiring about the source for these and this was his response:

"We are using the live John Cutler mixes for this box set, owing to the fact that we feel that sound is as good or better than anything we could have replicated in the studio by remixing the multi-tracks. The Grateful Dead's longtime engineers, John Cutler and Jeffrey Norman, spent considerable time checking out these live mix tapes, and they decided that these recordings are as good or better than can be reproduced with a remix. There is an aliveness and a clarity to John's live mixes that would be lost in the remixing process. This decision was the same decision Phil and John made in 1997 when they released the Terrapin Limited (3/15/90), for which the live mixes were used. John's live mixes were always great, but the Spring 1990 mixes are virtually flawless. Believe me, John and Jeffrey have huge amounts of audio integrity and they wouldn't have put their names on this project if they didn't feel these mixes are excellent. Personally, I think they sound phenomenal, as does everyone involved who's heard them. I gather Rhino will be putting up some sample clips (one might be up now?), and that will give you an indication of the quality.

To clarify, these are not stereo PA mixes; these are the live mixes John was producing in the recording truck."

I'm on board for this one but not thrilled by the choice. I know David L and the others have made outstanding choices in the past releases. I hope this release will change my mind. and I 'm wrong. I know those who make the choice are very excited by this tour. As for the whole package no real problem, I just wish the powers that be gave us a little warning about the price. I am glad to see six shows instead of 3 and that the shows were picked from the tout. I was hoping for a 79 box but did not expect it. I see the spring 90 tour as technically perfect. Although tecnically almost perfect I don't see the band taking risks. In the video by David L he talks how Brent is the Mvp in Many ways for this box and tour. The thing is if jerry was where he should have been there would be no such talk. Jerry Garcia leading the band made the gd into something transendental. When he was on it was like a jazz great like coltrane or dexter gordon. I read somewhere when bruce hornsby came into the band he was yelling at jerry to play. I think in the later brent years jerry got lazy and let brent have the space to dominate with his keyboards. Jerry's playing seems more adventuous with his solo stuff at the time and post brent dead. I hope the box blows me away but can't believe it will compare with the fillmore 69 , winterland 77 and 73 or europe72 box in music quality.

The sample probably sounds very similar to "Dozin'" due to the likelihood that the same tapes were used for both that release and this box. Unfortunately, it was never stated what source tapes were used for "Dozin'" either.

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